Actor/comedian Bill Cosby is set to return to stand-up for his first special in 30 years. Bill Cosby 77, which was filmed in San Francisco on Cosby's 77th birthday in July (14) and directed by actor Robert Townsend, will air on streaming service Netflix on 28 November (14).

After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
1/5
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The Green Mile star passed away in September (12) at the age of 54, from complications of a heart attack he suffered at his California home in July (12).
His funeral took place in California and was attended by famous friends including Tom Hanks, Emily Deschanel and David Boreanaz, along with Duncan's co-stars from his last ever film project, In The Hive, which was released in December (12).
It has now emerged that director Robert Townsend agreed to preview unreleased footage of the film during the service as a favour for Duncan's partner, Omarosa Manigault.
He reveals Manigault was moved by the movie's story of a young boy sent to a 'last chance' school for young offenders and especially one scene in which Duncan's character offers up some sage advice.
Townsend tells the Chicago Sun-Times, "I'll never forget the day we did a scene for In the Hive where Michael has this boy in a corner and talks to him about choices. It was important for him to get that scene right. Michael even talked to me about growing up on the South Side of Chicago. He said, 'Robert, these kids need help.'
"She (Manigault) asked me to show that exact scene from this movie at the funeral. She said, 'This is Michael's last movie and I'm so proud of it.' At the funeral, we showed the scene and Tom Hanks, Loretta Devine and Jay Leno were so moved. Everyone was moved. I was crying like a baby. When the film faded, everyone at Michael Clarke Duncan's funeral stood to give him a standing ovation."

The Oscar nominee passed away on 3 September (12) at the age of 54, from complications of a heart attack he suffered at his California home in July (12).
Mourners gathered for a public memorial service at the Hall of Liberty in Hollywood Hills' Forest Lawn Park cemetery on Sunday (09Sep12), and the following day droves of family members and celebrities arrived to pay their last respects during a special ceremony.
The actor's former The Green Mile co-star Hanks and their director Frank Darabont each spoke at the reception, which attracted the likes of Deschanel and Boreanaz, both of whom shared the small screen with Clarke Duncan in U.S. TV series Bones.
Co-stars from his upcoming movie In The Hive, Robert Townsend, Loretta Devine, and Vivica A. Fox, also attended the service, as did the actor's fiancee Omarosa Manigault and actress Holly Robinson Peete, whose manager mum once represented Clarke Duncan.

Instead of following a ragtag team of brutes hired for a suicide mission to destroy an Earth-bound meteor Seeking a Friend for the End of the World plays out the apocalyptic "what if?" scenario from the everyman vantage point. Written and directed by Lorene Scafaria (Nick and Norah's Infinite Playlist) the film pairs average joe Dodge (Steve Carell) with wallflower Penny (Keira Knightley) for a journey across the east coast a hunt for Dodge's college sweetheart. Scafaria takes a character-first approach to her anti-blockbuster examining the end of the world with a pitch black sense of humor. But the road trip loses steam as it chugs along with the film's insistence to avoid Hollywood disaster tropes taking a toll on the entertainment value. Dodge and Penny are so normal they aren't that interesting to watch. In turn neither is Seeking a Friend.
Worse for Dodge than the whole "destruction of humanity" thing is the fact that he's facing it alone; his wife leaves him he has no real family and he hates nearly all of his friends. While everyone he knows is either hooking up or shooting up in hopes of going out on a high note Dodge buckles under the weight of an existential crisis that feels all too familiar. To his rescue is next-door neighbor Penny who insists the two hit the road together to go find Dodge's one-that-got-away. They don't have much of a choice as New York City is quickly overrun by Malatov cocktail-hurling riots.
When the catastrophe and societal chaos is seen through Dodge's eyes and Carell's complex interpretation of the straight man Scafaria hits all the marks. Watching Dodge tell his cleaning lady to go home because "What's the point?" is heartbreaking while his good friend's descent into frat boy madness for the same reasons nails mankind's vile tendencies. And through it all it's funny thanks to Carell's impeccable timing. When Dodge is eventually paired up with Penny the film meanders the two never unearthing what it is about each other that keeps them sticking together. The duo run into a kindly truck driver (who's hired an assassin to off him when he's unaware) a TGIFriday's-esque restaurant full of zany drugged up waiters and even one of Penny's ex-boyfriends whose locked down with automatic rifles and Ruffles chips in anticipation of the end. But Dodge and Penny's quest is mostly about the in-between moments the quitter grounded human reactions to the apocalypse. Even with great performers at the helm Seeking a Friend doesn't organically shape those moments so much as contrive them. In one scene Penny fondly recalls the wonders of listening to music on vinyl Dodge listening carefully and learning. It's a soft and low key discussion perfect juxtaposition against the big-scale problem at hand but when a twenty-something is explaining records to a guy nearing 50 it comes off as twee instead of truthful. The problem infiltrates most of Seeking a Friend's character moments.
Scafaria has an ear and eye for comedy but Seeking a Friend boldly reaches for something more. Sadly ambition doesn't translate to success a messy tonal mix that fail to make it all that engaging or emotional. Carell and Knightley serve the material as best they can but this is the end of the world an even that requires a little weight a little sensationalism and a little more than a casual road movie.
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The summer movie season officially kicks off with a resounding bang this week with as Joss Whedon’s long-anticipated The Avengers storms into theaters. Looking at this awe-inspiring co-op of extraordinary people, it’s easy to see how they could earn the title of Earth’s mightiest heroes. While these titans of heroism are not the first crime-fighters to be immortalized in film, not just any superhero can be accepted into The Avengers organization. We decided to take a look at some lesser-supers and examine why their bids for membership would be unquestionably denied.
Darkman
Sam Raimi, and his adaptation of Spider-Man, is largely responsible for the resurgence of superhero cinema in the last decade. But in 1990, almost as an audition for the Spidey film he would one day helm, Raimi brought us a decidedly more emotionally volatile character in Darkman. Once a prominent scientist, Peyton Westlake is mutilated and left for dead during an explosion orchestrated by gangsters. He may have gained amplified strength and immunity to pain, but the fact that Liam Neeson is playing a hero who weeps at the drop of a hat is more than enough of a strike against Darkman to exclude him from Nick Fury’s squad.
The Meteor Man
The title song to this 1993 oddity suggests, “Ain’t nobody badder than The Meteor Man.” Once you see the film, you’ll agree… but not for the reasons intended. Robert Townsend, who also wrote and directed the movie, stars as an inner city high school teacher endowed with powers he doesn’t quite know how to handle by a chance encounter with a meteorite chunk. The film is cheesy with a capital B, but it’s the inexplicable parade of cameos that make The Meteor Man memorable; again, for the wrong reasons. Along with well-known celebs like Don Cheadle and James Earl Jones, the latter sporting one of the worst hairdos imaginable, the film also features forgettable musical acts as Naughty By Nature and Another Bad Creation.
The Toxic Avenger
Now I know what you’re thinking, this guy should be admitted to the group based on his apt name alone, right? Unfortunately The Toxic Avenger, and the film franchise that bears his name, is far from what I would call Avengers material. A bullied janitor falls into a vat of toxic waste and becomes a super gross pummeler of bad guys. As with any Troma Team production, The Toxic Avenger does not skimp on the crass humor, the excessive violence, and the general lack of taste. I’m not sure if it was our hero ripping off the arm of a thief or his exceedingly uncomfortable love scene, but at some point it was clear Toxie wouldn’t be sharing a locker with Iron Man anytime soon.
Blankman
It would seem appropriate to disqualify a hero such as Blankman from admittance into The Avengers right out of the gate, as he harbors no super powers. But then again, Hawkeye doesn’t really have any super powers either and he’s a charter member. Blankman, alias Darryl Walker (alias Damon Wayans), also shares Tony Stark’s penchant for inventing gadgets. However, that is pretty much where is he ceases to be a viable candidate. He’s not much of a fighter, his presence in his pajama-like costume is far from intimidating, and his superhero quips… are far from super. Of course it doesn’t help that the movie in which Blankman is housed is a tiring, sophomoric bore.
Guyver
Mark Hamill once saved the universe from the tyranny of the Galactic Empire, and there is no doubt The Avengers would be happy to have Luke Skywalker as a member. Hamill’s turn as the CIA agent in pursuit of the cyborg hero Guyver (Jack Armstrong) does little to improve his application. The film centers on an alien technology, supposedly on Earth for eons, that while part of their insidious plot to enslave mankind, actually endows a human with incredible powers. It’s about as campy, laughably performed, and cheap as one would expect from a direct-to-video '90s movie directed by a guy named Screaming Mad George. Actually, that’s a great name. I wonder if Screaming Mad would consider applying to be an Avengers villain.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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He passed away on 11 January (12) in Port Townsend, Washington after suffering kidney failure, reports Variety.
Bruno began his career behind-the-scenes in the 1960s and went on to work on films including Roman Polanski's Chinatown and The Way We Were before forging a longtime collaborative partnership with Scorsese.
He worked with the famed director on movies including Raging Bull, New York, New York, The King of Comedy and The Color of Money and he won a British Academy of Film and Television Arts (BAFTA) award for his costumes in Goodfellas.
Bruno also spent many years working with Scorsese's star Robert De Niro on films including The Untouchables, Guilty by Suspicion and Night and the City. He also worked on The Karate Kid and Steven Seagal's Out for Justice, Under Siege and Under Siege 2.

Actor Victor Garber was hired to replace first choice Robert Wagner as the voice of detective agency owner Charles Townsend at the beginning of the week (beg19Sep11).
He jokes, "They (producers) were in a panic. I think my agent was negotiating with someone in the Emmys audience (on Sunday)."
But Garber is thrilled to be playing the role which was originated by the late John Forsythe.
He tells TV Guide magazine, "This is an out-of-the-blue, out-of-body experience. I'm just happy they settled on me... I was really walking in off the street.
"They showed me the opening title sequence, where I introduce the Angels and tell the story of how it all happened, which is sort of the most important thing."
And he insists he's very excited about developing the new Charlie: "There will be implications that he is more involved than in the original series. He's an interesting, complicated guy and it will be fun to explore that as the series goes on."

Title

New York stage debut in "Take It from the Top" at the Henry Street Settlement

Early TV movie appearance in the CBS docudrama, "Women at West Point"

Purchased Hollywood Professional School and renamed it Tinsel Townsend Studios to turn into a mini-studio (date approximate)

First film as director-writer-producer "Hollywood Shuffle" (also star)

Helmed the TV biopic "The Natalie Cole Story" (NBC)

Stand-up comic with Second City and at NY's Improvisation

Co-starred in and co-executive produced "The Parent 'Hood" (The WB)

Film debut (bit part) in "Cooley High"

Executive produced, hosted, and wrote for "Townsend Television", a variety series on Fox

Worked with Experimental Black Actors Guild in Chicago at age 16

Directed the NBC biopic "The Little Richard Story"

Hosted the syndicated weekly series "Mowtown Live"

Was director of the MTV special "Carmen: A Hip Hopera"

Summary

Multi-talented figure who graduated from stand-up comedy to eilm, making his screen acting debut in Paul Mazursky's "Willie and Phil" (1980) and contributing a fine dramatic performance in "A Soldier's Story" (1984).

Name

Role

Comments

Robert Townsend

Father

Shirley Townsend

Mother

Cheri Jones

Wife

married on September 15, 1990; she filed for divorce on August 7, 2001

Sierra Townsend

Daughter

born on September 2, 1991

Skylar Townsend

Daughter

born on September 1, 1993

Education

Name

William Patterson College

Hunter College

Second City Comedy Workshop

Illinois State University

Negro Ensemble Company

Notes

"I didn't want to put my name on anything that would suggest to my audience that I was selling out. Hollywood grinds out dispossable movies geared for one good weekend before they die. As Costner showed us, if you want quality roles, you have to create them yourself...."Studios are justifiably nervous when a comedian tries to get serious. History is full of horror stories about those that failed. But I'm still a baby creatively. I refuse to be put in a box. This wasn't going to be "Hollywood Shuffle" with music."--Robert Townsend on "The Five Heartbeats" ("Los Angeles Times", March 29, 1991)

"Some of the things that these black film makers, writers, directors do, if a white person did it, they would be crucified. I'm supposed to look up at the screen and go: 'Oh, it's a black person exploiting me. Oh, as long as it's black-on-black exploitation, I'm cool with that.'

"What it does is keep everybody in slavery. All it says to the kids in those neighborhoods is that you're not going to make it. You're going to die. Why peddle that?"